#then carry on typing

[thesherrinfordfacility]

LWA: I'm circling back to the problem of trying to somehow identify Crowley's Angel-identity from extant Biblical precedents, and some posts from yesterday about novels that have inspired or will inspire aspects of S1 and S2--TALE OF TWO CITIES, PRIDE AND PREJUDICE, and THE CROW ROAD--have accidentally highlighted what's bothering me about this (even though I fell into it myself!).

There are so many ways that novelists, filmmakers, etc. can rework their literary antecedents, and assuming that we can go back to the Biblical (or Miltonic, Dantean, etc.) source to decode what Gaiman is doing rests on assumptions about how Gaiman--and Pratchett and Finnemore--are engaging with other texts. That /is/ something you can do with, for example, Akira Kurosawa's Shakespeare films (THRONE OF BLOOD/MACBETH, THE BAD SLEEP WELL/HAMLET, RAN/KING LEAR), where the films are extensively in conversation with Shakespeare, fundamentally share Shakespeare's plots, inhabit the same tragic mode, and have characters who can be mapped directly onto Shakespeare's. And yet the films /aren't/ Shakespeare, but Shakespeare reinterpreted through Japanese cinematic and theatrical genres (jidaigeki, Noh), cultural and historical referents, and twentieth-century preoccupations. They often signal differences through inversion--the gender-flipped characters in RAN, the silent protagonist in THE BAD SLEEP WELL--and they experiment by pulling threads. How would we reinterpret KING LEAR if Lear had a backstory? What happens if you pull a major character out of HAMLET?

But this is not how GOOD OMENS--the novel, S1, or S2--works with its own antecedents. Instead, it invokes antecedents to fracture them and then shoot off in its own directions; they appear in the text or series to establish expectations that are then abruptly undercut. You can't do an extended reading of GO's "conversation" with THE OMEN, because it isn't having one (in S1, the major points of contact are done with in ep1). Instead, we have THE OMEN banging up against the JUST WILLIAM series, THE SCREWTAPE LETTERS, John Le Carre, the Bible...The genres and modes deliberately don't shake hands. Characters may or may not be parallels, but they are at best partly so and the analogies soon break down. In the series, yes, A TALE OF TWO CITIES inspires the appearance-swap at the end of S1, but it is so wildly different that it doesn't help the reader interpret what GO is doing. (Among other things, Sydney Carton /actually/ dies--obviously!--and Charles Darnay doesn't, meaning that it's a true self-sacrifice; Carton's underlying motivations are different; Darnay is upset by the proposal and effectively forced into it by being knocked unconscious; etc.) It's less a conversation and more a starting-point for play.

Similarly, S2 invokes and plays with PRIDE AND PREJUDICE, but it /isn't/ PRIDE AND PREJUDICE. (This time, PRIDE & PREJUDICE bangs up against Richard Curtis films, the cozy mystery genre, the Hollywood Biblical epic...) If anything, Aziraphale's ball serves as a metafictional warning to /not/ try to force an interpretation of events through P&P's lens. (It's also a bad misreading on Aziraphale's part, since Jane and Bingley fall for each other at the ball, but the protagonists exit it disliking each other!) Aziraphale and Crowley absolutely occupy aspects of Darcy's and Lizzie's roles, including the "both right/both wrong" problem and the relationship meddling (which is the opposite of Darcy's strategy with Bingley), but the series is far more invested in miscommunication as a problem than the novel is. The plots don't track and character parallels break down pretty quickly. It's impossible to maintain a good analogical "fit" between Heaven vs. Hell and wealthy vs. relatively-impoverished gentry (among other things, pursuing the analogy would leave us with Crowley eventually deciding to return to Heaven, which, no). Aziraphale and Crowley are nowhere near the same emotional space that Darcy and Lizzie are during the proposal scene, and while Darcy has not adequately communicated his intentions to Lizzie in the lead-up to his first proposal, the problem /during/ the proposal is that he's being a jerk and she has every right to be aggravated with him, not that they're mutually misunderstanding each other. The stakes, narrative contexts, and mental hang-ups are different. Etc. Presumably Gaiman will invoke and then disrupt THE CROW ROAD in the same way.

So, again, with the Bible. We can't use the Bible to predict anything that will happen in the GO universe because we have no way of knowing what GO will declare to be /wrong/ about the Biblical record. In S1, we discover that it's a Principality guarding the Eastern Gate, and that there's a minor matter of a missing sword; we also find out that the Flood is local and that Crowley felt that Jesus just needed a bit of a vacation break. (If you've read the novel, you also know that Aziraphale is dismissive of Revelation, thanks to John's addiction to shrooms.) In S2, we have the Job minisode, and it would take a really, really long time to break down just how far that minisode departs from the Book of Job (and this ask is already long enough!). The point, as Crowley might say, is that we approach the series with expectations set by the Bible, but then we discover that the series never takes the Biblical narrative as set. It's unpredictable (as Crowley also says).

evening (morning technically, currently at 0050hrs and will probably be done around 0300) LWA, hope you're good!!!✨

this is obviously far more eloquent, nuanced, and empirically evidenced than i could have ever put it, but im going to view this as going some way to being validation for the thought processes on a couple of theories/speculations that have been floating around in the wake of s2. meant kindly, i think the allegorical element of GO can sometimes misconstrued, and fans can sometimes get so caught up in what they believe is the only true inspiration for the story, and miss that it is a work of fiction. it is literally made-up. it stands to reason therefore, and has been demonstrated time and time again, as having been inspired at its core from lots of different places.

there is representation of so many things in GO, and it's truly one of the aspects that i love most about it. it is not representative of any one set rhetoric. specifically about your example of who crowley was before the fall; this caused so much underlying discourse that i fully appreciated and considered perfectly valid. crowley was described by neil as a jewish-coded character insomuch that he asked questions (tbh by extension from that the whole story could be described similarly?), and then, as ive since learned, a lot of the angelic names mentioned are hebrew in origin. since having a plethora of asks flood me contradicting that crowley cannot or should not have been an angel of christian origin, or otherwise, ive educated myself more. but im not going to go back on what i myself have speculated on because it is a story, and it can take inspiration, and rework that inspiration in kind, from anywhere. that, i think, sometimes gets missed. ive usually speculated and analysed based on where the narrative, to my mind, has been heading, taking cues from what we've seen so far, and then researched off the back of it what might fit or would support it - not the other way around.

religious representation is important. speaking personally- being someone non-religious and raised largely secular (as said many times) i will never fully understand what it means to have that representation portrayed in popular media... because how on earth could i begin to? but i would like to say i understand emotion and how people think, and i can understand why representation is important to people. that is valid, in every respect. but GO is not a reworked version of any one biblical text, as you said. inspirations not shaking hands, but flitting around each other in a dance. it pokes holes at, reimagines, and validates as well as invalidates elements of multiple religious texts and teachings (one of my favourite and imo funniest book lines was the mushrooms recollection, was gutted it didn't make the show in full!)

again, this is part of why i love it - because whilst these different allegories provide the backdrop to the story, it is not the story. the reason why the story is so important to me is because it is an examination of the human condition through the eyes of beings that are not human. the story could be told from the pov of a human-form pot plant and reach the same kind of conclusions, but the religious inspiration gives the story more consistent context, dichotomy and insight, more depth and philosophy. and it's much more entertaining. but yes - let the narrative be inspired by anything; bits and pieces from this, pinches and dashes from that... it creates a story that is so arguably unique that way, frames its own questions and problems, and remains to true to being a work of fiction - set to inspire and challenge in kind on to other present and future works - and so on and on the cog turns - isn't that the point?

GO is not the only religious-inspired work that ive loved for these reasons; favourite book (no offence to anyone by daring to type this sentence as a GO blog; it's sentimental to me) is andrew davidson's the gargoyle. it very scrupulously follows, at times, elements of dante's divine comedy and makes overt references to it given its a key part of the story, but it's manifestly allegorical too. but the best part of the story is how it interprets religion's often tumultuous relationship with mental health, love being flawed and discriminatory, and the concept of salvation. again, religious imagery and inspiration as the backdrop, human condition being the narrative.

i haven't really remarked on any else that you've mentioned, LWA, which is par for the course with me, so going to speedrun slightly.

P&P: when i watched s2 i must admit i was almost surprised that this work had so much weight, because i felt it had more relation to other austen works (emma and persuasion particularly) but then i remembered that was the Whole Point

Kurosawa: will admit that i haven't seen these but based on what im assuming is your recommendation i will duly add to the watchlist (seen Kagemusha, but that's it for my foray into his works!)

Le Carré: ah, im so glad you said this! when ive been thinking idly about the corruption in heaven and the risk in looking back on it with the metaphorical rose-tinted glasses, this is the same feeling as when i read his work - bits from TTSS, and constant gardener, but TLGW especially in my mind... not sure if you were referring to these works in particular and in this context, but huge fan of Le Carré and happy to see it mentioned!!!

richard curtis: i... yeah. this was a revelation for me. enough said.

ultimately im so excited about the unpredictable; i love speculating, and whilst it's fun to have gotten something right (s2 was not a good track record for me, the only things i got that were even a smidgeon near the truth were half-arsed shitposts and if that doesn't humble a girl, nothing will), i want to be taken aback by where the narrative has gone, the dilemmas that have been raised, dialogue and exposition choices... i want to be wrong, because that's infinitely more fun!

(0220 - not bad)✨

[soaked-doors]

young upstarts. filo-irish shanks realness or something

[chloesimaginationthings]

FNAF movie Mike isn’t wrong, but he’s not right either..

Based off @/Tanijrou post on twitter

[laomelettedufromage]

One of my pet peeves after having gotten very into swing dance as an aroace is seeing videos of people swing dancing or really doing any type of partner dance and over half the comments just being stuff like “how are they not in love😳” or “friends🤨” like please free yourselves, you can have a lot of chemistry and fun dancing with someone and it doesn’t have to be anything more than that!! Just fun!!! I’m not saying a little bit of lighthearted friendly love can’t be involved but it’s not always that deep, it’s just having fun!!

[sophfandoms53]

anyways Sonic Prime was a good time, a cute little Sonic show I’ll revisit just like Boom and X.

I’m so grateful that it gave us one of the best incarnations of Shadow since 06, for the first time in a long time Shadow felt like Shadow, and I’m gonna miss him most of all

Prime Shadow, my beloved, you were bigger than the whole sky

[jazeswhbhaven]

Hello!! I'm not so sure if you've done something similar, but could I request a headcanon for the kings + lucifer and the seraphims on how they react if MC doesn't like getting carried and even if they try to carry them they're just trying to break free and doing shits to make it ”impossible” to carry them and to like avoid it because they think they're heavy? Thank you!!

Hi anon, thank you for waiting! I haven't done anything like this before so yay :D Let's start with our seraphim first <3 Michael: He only needed to carry MC because they were walking too slow, he's got places to be. MC refuses, shoving his arms away and even sitting down on the ground to say they'd wait for him to come back instead. After two minutes of arguing, he scoops them up anyway and throws them over his shoulder while they hold on for dear life thinking they'd fall. Wait...is he f l y i ng????!!!

Gabriel: He's only managed to get his arms around them before MC literally scratches his arm trying to tell him to put them down. This surprises the angel so much that he makes it a goal now to pick them up. MC will have their arms wrapped around whatever object they can, everyone else looking at the two of them bickering in the street over Gabe trying to carry them to prove a point. He does give up eventually.

Raphael: He doesn't take no for an answer, scooping up MC in bridal style and smirking. "See, light as a feather." MC at this point is shoving his face away and demanding they be put down immediately but this angel likes teasing MC in anyway possible. After a few curses and face shoves he does put them down and plans on doing it again later.

Satan: He loves getting an opportunity to attempt carrying MC, only because they chew him out so much. There was one time where MC bit him, and well...let's just say they made it worse for themselves in the end, being that he picked them up anyway, carried them to his room and neither of them came back out for hours. *wink*

Mammon: He's so used to being beat up by Satan that MC's hits on his massive chest mean nothing as he picks them up. However, after hearing out MC, Mammon doesn't carry them anymore. Instead he has other things carry MC, as in a custom floating chair powered by one of his AIs. He simply just doesn't think his Master should have to walk is all when Tartaros. Beelzebub: He only attempts to pick up MC as a form of teasing. He likes to see them try and make their weight heavy so he can't pick them up, he'll even pretend he's struggling or is about to drop them. But he will playfully laugh, leaving MC alone after they start to make a serious face (which is one of his favorite faces of theirs) Leviathan: MC doesn't have to worry about this king too much on picking them up and carrying them. He simply refuses stating that they can walk and he shouldn't have to 'baby' them. But there was one time during an attack on Hades, where an angel targeted MC and that was the only time MC was carried, indirectly by a series of tentacles that Levi summons.

Lucifer: He doesn't really understand why MC insists so much that they don't like be carried. Especially when they injure themselves. Luci does respect their wishes, but doesn't take no for an answer when they're badly hurt, scooping them up and carrying them bridal style to Morax's office to be healed. Not much MC can say when there's blood running down their leg and it hurts like hell.

[bluegarners]

feeling mentally ill about dick grayson's concept of home.... like he literally can never go home

[literallyjusttoa]

No, listen, you don’t understand, this line haunts me. Why is this never picked back up?? Did anyone actually tell Apollo that his son said this???? Apollo met with all three people who were in this room, did any of them pass the message on??? If so, why don’t we see it???? Actually, why is Asclepius barely mentioned AT ALL in ToA???????? WHAT IS GOING ON WITH ASCLEPIUS???????

[classycookiexo]

[steppesliver]

true detective (2019) / sharp objects by gillian flynn

[lazycranberrydoodles]

its prosecutor jiang wanyin!!!! oh fuck!!! / gifs + au rambling below the cut / follow for more mdzs x aa crossover stuff :3

all the gifs i made (poses traced off franziska):

hes so similar to franziska when you think about it. theyre both deeply insecure tsundere adoptive younger sibling of successful main characters. who carry whips. something something edgeworth choosing death and wwx actually dying also

his share code is HWFEFF if you wanna use him in a trial! you can't share backgrounds but heres the scenery from the donghua i used.

the easiest way to put custom stuff into objection.lol is to send it in discord and then use the link from opening it in your browser :)

a whole lot of AU stuff

the art im making is for if mdzs was an ace attorney game, playing from WWX's POV to solve various mysteries/cases over the course of the plot. so this scene would be from turnabout goddess, which would loosely cover the dafan mountain mystery.

cases include:

Turnabout Revenge (Mo Manor, quick introductory first case)

Turnabout Goddess (Dafan mountain, the good times flashback)

Turnabout Saber (the man-eating castle (omg hiii nhs))

The Blind Turnabout (Yi City arc)

Turnabout Deviation (the Koi Tower conference, Empathy on NMJ ala turnabout memories or beginnings. opening cutscene is his qi deviation)

The Blood-Soaked Turnabout (second Burial Mounds siege, flashbacks: Xuanwu, Sunshot, YLLZ, Nightless City massacre)

Turnabout Lotus Seeds (testimony about JGY, tree scene, golden core reveal, bathtub scene. opening cutscene could be JGS' death but that would make it canon rather than ambiguous)

Turnabout Confession (Guanyin temple)

the problem with splitting novel!mdzs into turnabouts is that flashbacks are a huge chunk of the book but they don't have mysteries/ cases to solve so they've gotta be lumped together with present day stuff. imo? many of the flashbacks would likely have to be abridged so they could be retold ala DL-6, SL-9, or the fourth grade incident, where characters talk about it over some pieces of art. this is really difficult when theres a metric ton of unspoken, complex, and signifcant history between every character lmao

there's not as much of a problem with the cql timeline but i have not finished it. so.

the opening cutscenes in ace attorney always show the murder and/or the murderer plotting. the first cutscene of the game would be MXY summoning WWX, muttering about getting revenge on his family (it would also be good for him to mention the yllz being dead because that's how the novel starts.) cut to WWX's POV as he wakes up covered in blood and the investigation segment begins.

for investigations of monsters (goddess, saber, etc) the cutscene would be a scene of some poor throwaway cultivator getting their shit wrecked.

it would be cool to make a breakdown for JGY but again I need to review that scene cause I don't know who I'd base him on. maybe Vasquez or Dahlia.

tell me your thoughts!! i'm working off of a mdzs summary/ skimming the novel because i don't remember it too well so if i get anything wrong please yell at me

Jin Ling's sprites & Nie Huaisang's sprites / masterpost

[inkskinned]

what is considered "beautiful" by society is inevitably sexist, racist, ableist, classist, transphobic, and bigoted. it targets and attacks any perceived difference, and it particularly villainizes women of color while co-opting aesthetics; as if features and cultural norms can be worn as accessories.

and the scary thing! you can see all of these things, know them to be true logically, and also know that you are treated better if you are perceived as beautiful. if you have ever been treated as "ugly", you know exactly how much society reviles you if you don't manage to scamper along and perform to their rules.

and how are you supposed to balance that? do you want a nose job to fix your broken nose, or have you just recently been seeing videos about how many people look better after nose jobs. do you want to lose weight to feel good, or is it that when you lose weight people treat you better. do you want to wear this outfit, or is it just the thing that's least likely to get you harassed. do you want to get lip injections for your reasons or is your whole reason that you don't feel beautiful unless you get those lip injections?

and the definitions shift. the goals get more specific. in the way that you only become aware of your tongue when someone mentions it; parts of your body are introduced as problems. i had never heard the term "hip dip" until about a year ago - and it was in the context of how to get rid of this. i'm 30, i know this shit is invented, and yet! i still find that strange voice saying but do you think someone is going to notice?

how the fuck am i supposed to say "this is my genuine choice i am making for my body" when i also know that years of my life have been spent socializing me to accept this as my inevitable fate? how do i know i'm actually doing this out of love for my body - or am i doing it for how i want others to see me, which will be lovely enough to feel loved? how am i supposed to recover when my unhealthy habits are seen as self-discipline but if i relax i'm openly mocked for "letting time win"? how the fuck am i supposed to say "i'm doing it for me" when i'm also very aware that i'm doing it to stop myself from being teased or demeaned? is it my choice if the other option is being bullied?

we are living in a hostage negotiation - either consent to the demands or spend the rest of your life being treated like you're a despicable person.

[houseswife]

[bobmckenzie]

women selfshippers who aren't stereotypically feminine, whether in physical features or personality or anything, your f/o loves you just the way you are 💚 you are their ideal woman ! :)

[bluemurray]

another quick doodle barf of Na'vi Quaritch and his boy Spider in scale. I know in the movie he carried Spider like a sack of potatoes BUT he can definitely lift him like this in one arm (aint this a cool position too Colonel? dont be shy...)

and it would look so cute like BRUH I CANT GET ENOUGH OF THE SIZE DIFFERENCE.

.

.

<you'll never know maybe he has done this already during their bonding time when that feral boy finally calmed the hell down for once and IM SURE Quaritch ain't missing the chance>

[nelkcats]

Poison

Two new types of poison started being sold in Gotham's underworld; one is bright pink and the other a toxic green, both of which have caused the Batfamily a major headache because no one can find a cure or a reason why it suddenly started being sold.

Unfortunately, many of their Rogues have been using it for their attacks and this product has proven to be deadly.

It tends to act immediately on contact with an individual and cause extreme pain (some have commented that they feel like dying), as well as being effective on everyone it comes in contact with (including mutants, metas, and aliens) and not possessing an antidote. Bruce has tried to analyze it on many occasions but the batcomputer never comes up with results, as if the product is corrupted.

Strangely, it was recently discovered that Jason has immunity, and contrary to expectations, the poison seems to make him stronger? it even affects the influence of the pits!

This, of course, did not please the vigilante, the color of one of the poisons was too familiar for him to pass up so he decided to seek its source directly. Unlike Bruce, who was dedicated to the search for an antidote, Jason felt there was something darker about the whole situation, so he decided to track down the vendors and follow them.

Elsewhere, two halfas look at each other wearily as needles pierced their skin, it's a bit ironic that they let their guard down when the Fenton's declared they liked ghosts and forgot they had other enemies.